Proyectos
2014 - 2023 Fotogafías 35mm y Digital x Emilio Marín
2023 F.I.L Buenos Aires
2021 Pabellón de Chile, Bienal de Arquitectura de Venecia
2021 C.I.D
2010 Miss Lonely House
2014 Casa Santa Julia
2014 Liga 15
2014 Laboratorio de Gobierno
2014 Edificio Pedro Lautaro Ferrer II
Textos
- Diario de vida de un monumento (2003-2023)
- Too Much Magazine - Geografía Romántica
- One Obstruction
- Apartamento Magazine Issue #21 - Entrevista y fotografías a Juan Grimm
- Statement Testimonial Spaces
Fotografía
Testimonial Spaces
Chilean pavilion at the 17th International Architecture Exhibition, la biennale di Venezia
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Emilio Marín
Concepción, 1972
Es arquitecto de la Facultad de Arquitectura y Urbanismo de la Universidad de Chile (1998). Magister en Artes, con mención en Artes Visuales. En 2005 fundó su estudio. Esta se especializa en diversos campos de la arquitectura contemporánea, ha desarrollado proyectos para clientes públicos y privados. Recibió el Premio Bienal Santiago XVII, con la obra Biblioteca Pública de Licantén. Participó como arquitecto invitado en el taller Porto Academy 2014 en Oporto, Portugal. Fue expositor en LIGA 15, Ciudad de México. 2014 quedó finalista en el MCHAP EMERGE 2014-15 del IIT, con el proyecto Centro de Interpretación del Desierto (C.I.D). 2019 es seleccionado como curador de Chile, para la 17ª Exposición Internacional de Arquitectura, La Biennale di Venezia, con la propuesta Testimonial Spaces, para representar a Chile.
SITE VISIT
In SITE VISIT, Emilio Marín visits the house with a Fuji Instax Square 6 instant film camera.
In SITE VISIT, Emilio Marín visits the house with a Fuji Instax Square 6 instant film camera.
“When you’re an architect (the designing kind), the first impression you have when visiting cities, buildings or houses becomes a true ‘site visit’. Once there, it is almost impossible not to look at details, materials, measurements, contact points, wear, cracks, color, shapes, lifestyles, light, heat, smells, objects, etc. So much so, that it is some kind of punishment. It is the way in which we architects relate to the built world (at least in short site visits): a kind of record without a medium. I guess when you’re a photographer it’s more or less the same, it must be almost impossible not to look at the light, frames, glances, fleeting moments, distances, composition, brightness, rectification of lines, colors, etc. The record of the BC House and its life moves between these two statements, that of the architect and the photographer.The record was carried out on instant film. You could say that the quality of the image is low resolution, which takes distance from the most pristine architectural records. At the same time, the instant film has an aura that takes distance from an ordinary site report record.In my experience, making a record through photography is more or less recent. Embarrassed, perhaps unjustifiably, by the lack of technical knowledge, added to shyness or simply a lack of courage before the intimidating results of professional photographers, little by little, the photographic record has become more natural to me, less frustrating, more liberating, consistent and honest, compared to what an architectural work can become, which increasingly seems to me an ‘other thing’ disguised as personal choice”.
